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Pancho

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About Pancho

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  • Name Tom
  • Location Germany

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  1. Thanks - so -much! Sometimes on really wants to start crying.... Since when is the length of an axis important for the rotation? Doesn't make any sense since this is a vector, a direction, but, well, .... Thanks for the help!
  2. I know that the approach can't be wrong. Cross product for the axis, dot product's arcos for rotation. But the angle isn't correct...
  3. Since two hours I try to achieve something trivial, but I fail in all ways. Tried to solve it with "Orient", multiplication by "Matrix" and the way I do it right now. But I fail in all cases to rotate the primitive back in the ground plane. WTF is wrong with the dot product??? The axis seems to be fine. When I enter the angle manually I can make it, but not with the calculated one. In another scene the correct angle is something like 123°, but the dot product spits 129.xx out. I'd be more than happy if somebody could point out what's wrong with my approach and how it can be done in other ways. And probably somebody can explain why there is stretching going on if I multiply the point positions with the matrix. Cheers Tom WTF.hiplc
  4. Some small updates. There's a helper bone now to rotate the ulna/radius when the angle between humerus and ulna/radius is changing. Feathers look a bit better, too. The questions I got so far remain. Any help appreciated. wing_01_a_078.hiplc
  5. Nobody an idea how to get the bone position, rotation and bone length? For the curve set up I do need this. My hack with importing the bone "geometry" and delete all but the points at the origin is really an ugly hack. Boneangle() works great to get the angle between two bones. Isn't there a Boneposition(), Bonerotation() and Bonelength() syntax??? Cheers!
  6. I'm just starting experimenting and since my experience with rigging is pretty low, I would like to make this project as public as possible. So anyone who likes to participate, welcome on board. I guess the most difficult part is probably the wing, apart from achieving a rig which is convenient to animate. Right now I stumble across two things mainly. a) My current dummy feathers use curve points as origins. The curve is "attached" to the bones in a rather clumsy way. As soon as a bone changes its geometry there'll be errors since I import the bones by an OBJECT_MERGE and delete all points except the one I would like to constrain the curve to. Is there an easier way to do this? In SI I would have thrown all the bones into a group and the get all position values and bone length values in the group to calculate the root and tip positions. Is there a way to do this in H? Or how would you constrain a curve to bones? If the curve consists just out of a few points it can be done manually, but if the curve got loads of points my method is definitely not convenient. I checked a video in which somebody demonstrates a bird wing. It seems that the elbow joint doesn't work like in my rigging example (rotating in just one plane), but the the ulna/radius rotate around their length at around 90° if the elbow is rotated by 180°. Imagine a door fully opened (180° till it's closed) with just one joint in the middle. If you close the door it starts to rotate also around the joint in such a fashion that the door is in the same plane as the ground when it's totally closed. Do I need to add another bone on top of the ulna/radius which rotates around this axis or can I rotate the bone by itself? Since it's an IK chain the manually entered rotation values don't have an effect (How can I display the rotation values of the bones? In their node panel there doesn't seem to be a settings which displays it). Next steps would be to come up with a tendon which connects the wrist and shoulder, find the correct way to apply the feathers (does one need bones?) and shape the primary and secondary feather according to the wing shape. So any help and participation is welcome. Cheers Tom wing_01_a_032.hiplc
  7. In order to isolate lights and reflection panels I need for single render passes I use takes to isolate/activate certain these and disable all other lights and geometry which isn't needed. So, now I'm able to see and judge what certain light settings, positions, rotations do to the overall look of the scene. The problem, all settings are grayed out and I need to include these settings in the take, BUT I want these settings to apply to all takes and the main take. How do I do this in the most practical way? Is there a "mode" in which everything isn't grayed out and the settings I apply also change in the main take and all sub takes? Right now I switch back to "Main", apply the settings, go back to my take and render. NOT - VERY - EFFICIENT. Cheers Tom
  8. P.P.S.: There are other examples out there, using several high res trails which are then combined for rendering in order to get the detail. One sim might not be enough.
  9. First of all, your resolution is obviously too low, much to low. And I guess you miss a point. This is an explosion. Debris is flying around, but the main pressure is coming from the center of the explosion. The trails are only a part of it. If you watch closely you'll realize that the video you posted consists of two elements, trails (kind of low res) and a center cloud which expands rapidly. P.S.: Since the image is a still, don't forget that it is heavily photoshoped.
  10. Just received help on the Redshift forum. Thanks again! "For this type of rendering you need to disable “Non-Blocking Current Frame Rendering” on the RS ROP."
  11. Since I need the sim for a still, the actual behaviour isn't so important than the end position. So I managed to "control" the jello with a drag node set to 0.85 for v and torque. But this slows down the overall animation. Which attribute "inside" the grain node can I alter in a similar fashion, but without changing the amount of other forces. Is there a value which stores the kinectic energy and can be reduced with a drag node? Somehow a force remains inside the grains. Otherwise they couldn't jump out of the glass after they've been stable for a few frames. THere's something like a spring force which makes everything explode.
  12. I tried to figure it out by myself, but don't get it. I've read that you either need to merge all ROPs and render the merge node or connect all ROPs and render the last one. Neither works. It always renders the first take and then stops. I render print res with the Indie version, so "render current frame" is the only option in terms of choosing which frame I want to render. I use Redshift. Did anybody encounter similar problems? Running to the PC every few minutes and check whether one can manually start rendering the next take is not a real life option (though the only one which currently "works"). Cheers Tom
  13. I went from 20 to 100 with the Constraint Iterations which is definitely enhancing the shape conservation, but I haven't figured out how to take the energy away from the grain. I let several layers of fruit fall into my glass. At one point they jump all out of it. Although they were all down at the bottom of the glass. But as soon as the last layers dropped onto the pile somehow all the inital energy gets added up and they jump together out of the glass. NOT - SO - GOOD.
  14. I spent hours today simulating some fruit falling into a glass with FEM. I took forever to calculate and I still ended with horrible penetrations of the glass. I switched over to granular solids and it is soooo much faster, BUT the wiggling and jittering is an issue. A big one. it's like a rodeo which doesn't stop. How do I take away the energy from the sim effectively without going for a diiferent look? A goo like material should be as bouncy as a rocksolid one, and the other way round. Both should come to an abrupt stop with the first collision. Whatever is needed. So, what's the secret? Cheers Tom P.S.: Even values of 10.000.000 for both stiffness parameters don't prevent a heavy deformation on the first collision. Is it not possible to go a bit more into the rigid direction? The additional parameters are too time consuming. Not really possible to use them.
  15. Thanks for the quick reply! I guess the problem with this approach would be if you look at a flat angle into the object in the clear area, it'll remain clear. It won't become opaque towards the opaque area since the material influence is defined at the outside. This approach works great, as long as you keep the view from the side, since it doesn't reveal that the textures aren't volumetric.